Robert Zandvliet’s exhibition “I Owe You the Truth in Painting” posed an interesting question: Should a painter copy another’s work? While the history of painting is filled with celebrated reinterpretations—Van Gogh’s paintings after Millet’s The Sower or Picasso’s series based on Velázquez’s Las Meninas come to mind—a lingering suspicion seems to attach itself to copies today. Perhaps now that we have long since entered the age of mechanical reproduction, turning one painted world into another seems like too small a step, less significant and personal than transforming reality